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form y Beneath Clouds single work   film/TV  
Issue Details: First known date: 2001... 2001 Beneath Clouds
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AbstractHistoryArchive Description

Blue eyed, fair skinned Lena is the daughter of an Aboriginal mother, living in a small country town. She longs for the romantic ideal of her absent father and his Irish heritage. When her home life feels set to implode, she hits the road with little money, a backpack and a photo of her dad. When Lena misses her bus to Sydney, she meets up with Vaughn, an Aboriginal teenager who has run away from a minimum-security prison in the desperate hope of reaching his ill mother. Vaughn is hardened by his anger at the world. Initially the two reluctant travelling companions are suspicious and wary of each other, but their journey, mostly by foot and the odd lift, builds an understanding between them. -- Libraries Australia

Publication Details of Only Known VersionEarliest 2 Known Versions of

Alternative title: Beneath Clouds : Screenplay for a Cinema Feature
    • Ourimbah, Ourimbah - Berkeley Vale - Chittaway Point area, Tuggerah Lake area, Central Coast, New South Wales,: Autumn Films , 2001 .
      Extent: 73 leavesp.
      Note/s:
      • Developed in association with the Australian Film Commission and assistance from the New South Wales Film and Television Office. Shooting script, 16th January 2001

Works about this Work

(Sweet) Sixteen Great Australian Teen Films Erin Free (editor), 2016 single work column
— Appears in: FilmInk , 20 May 2016;
Respecting Protocols for Representing Aboriginal Cultures Jared Thomas , 2014 single work criticism
— Appears in: JASAL , vol. 14 no. 3 2014;
'This essay undertakes a detailed discussion of how respecting protocols for representing Indigenous cultures supports the interests of Indigenous communities and producers of stories with Indigenous content. To highlight the importance of Indigenous protocols I review the prominence and reception of Aboriginal stories in Australian film and literature and discuss how protocol guidelines can prevent problematic representations. I demonstrate how protocols influenced writing Calypso Summer (2014), a novel exploring issues relating to my cultural group, the Nukunu, to illustrate the challenges encountered and benefits gained from employing Indigenous representation protocols. ' (Author's introduction)
Case Studies 2014 single work criticism
— Appears in: Australian Indigenous Film and Television Digital Bibliography 2014;

'Synopsis and bibliographies for selected Indigenous Australian films from locations across Australia including: Samson & Delilah, Beneath Clouds, Bran Nue Dae , The Sapphires, and Toomelah. '

Seriously Funny : History and Humour in The Sapphires and Other Indigenous Comedies Rose Capp , 2012 single work criticism
— Appears in: Senses of Cinema , July no. 63 2012;
'The Sapphires (Wayne Blair, 2012) opens in an idyllic rural setting. A group of young Aboriginal girls run home across the paddocks in the fading evening light to sing for a gathering of family and friends. But this benign atmosphere rapidly switches to terror as white Australian Government officials arrive on the scene and forcibly remove one of the girls from the Cummeraganja Mission community. It is the late 1960s, and State and Federal Government "child protection" policies allow the removal of so-called "half-caste" Aboriginal children from their families, leaving a devastating and traumatic legacy that the film goes on to address.' (Author's introduction)
The Aboriginal Voice in Baz Luhrmann's Left-Leaning Australia (2008) Bruno Starrs , 2012 single work criticism
— Appears in: Continuum : Journal of Media & Cultural Studies , vol. 26 no. 4 2012; (p. 625-636)
'Arguing that Baz Luhrmann's Australia (2008) is a big-budget, non-independent film espousing a left-leaning political ideology in its non-racist representations of Aborigines on film, this paper suggests the addition of a 'fourth formation' to the 1984 Moore and Muecke model is warranted. According to their theorizing, racist 'first formation' films promote policies of assimilation whereas 'second formation' films avoid overt political statements in favour of more acceptable multicultural liberalism. Moore and Muecke's seemingly ultimate 'third formation films', however, blatantly foreground the director's leftist political dogma in a necessarily low budget, independent production. Australia, on the other hand, is an advance on the third formation because its left-leaning feminized Aboriginal voice is safely backed by a colossal production budget and indicates a transformation in public perceptions of Aboriginal issues. Furthermore, this paper argues that the use of low-cost post-production techniques such as voice-over narration by racially appropriate individuals and the use of diegetic song in Australia work to ensure the positive reception of the left-leaning message regarding the Stolen Generations. With these devices Luhrmann effectively counters the claims of right-wing denialists such as Andrew Bolt and Keith Windschuttle.' (Author's abstract, 625)
Review : Beneath Clouds David Bolton , 2002 single work review
— Appears in: Refugee Transitions , Spring/Summer no. 13 2002; (p. 52)

— Review of Beneath Clouds Ivan Sen 2001 single work film/TV
Readers' Rites : Surpassing Style Ian Henderson , 2006 single work criticism
— Appears in: The Politics and Poetics of Passage in Canadian and Australian Culture and Fiction 2006; (p. 101-116)
'A passer who recognises and admires another's equally convincing performance both succumbs to the other's superficial show and perceives the concealed techniques of its production: it is a matter of fully appreciating the other's style. So too certain narratives of passing oblige readers to negotiate a rite of passage through their conspicuous style: the mode of presentation becomes as important as the story the writer has fashioned and must be met with a style-conscious, paradoxical reading strategy for the tale to "tell". [...] In this chapter I will explore the reader's rites of passage in these two texts [Wild Cat Falling and Beneath Clouds], particularly as they impact upon the non-Indigenous reader, articulating the relevance of style to their comment upon racial identity.' -- From the author's introductory paragraph.
Ivan Sen Australian Film Commission , 2007 single work non-fiction
— Appears in: Dreaming in Motion : Celebrating Australia's Indigenous Filmmakers 2007; (p. 59-[61])
Contains Ivan Sen's short film biography, his filmography, details on the films: Beneath Clouds and Yellow Fella, and a small commentary by Sen on filmmaking.
Escaping History and Shame in Looking for Alibrandi, Head On and Beneath the Clouds Felicity Collins , Therese Davis , 2004 single work criticism
— Appears in: Australian Cinema after Mabo 2004; (p. 152-171)
In this chapter Collins and Davis analyse how the films, Looking for Alibrandi, Head On and Beneath the Clouds 'invites us to consider the relation between the past and the present .' The authors argue that the stories these films tell, regarding 'coming of age, reveal a picture of young Australians as the inheritors of a nation divided on issues of race relations, land politics, national security, and how best to deal with the shameful episodes from our colonial past.' Although these films differ in style and content they express a common 'form of teen mobility fuelled by the desire to 'escape history' ... that is symptomatic of the specific difficulties of coming of age in post-Mabo Australia.' Source : Australian Cinema after Mabo (2004).
Reconciliation and the History Wars in Australian Cinema Felicity Collins , 2011-2012 single work criticism
— Appears in: Exhuming Passions : The Pressure of the Past in Ireland and Australia 2012; (p. 207-222)
'When The Proposition ( a UK/Australia co-production, directed by John Hillcoat and scripted by Nick Cave) was released in 2005, film reviewers had no qualms about claiming this spectacular saga of colonial violence on the Queensland frontier as a 'history' film. A reviewer on BBC Radio 4 described The Proposition as 'a bushranger Western...set in violent 1880s Australian outback exposing the bitter racial tensions between English and Irish settlers. A Sunday Times review declared that 'Australia's brutal post-colonial history is stripped of all the lies in a bloody clash of cultures between the British police, the Irish bushrangers and the Aborigines.' Foregrounding the film's revisionist spectacle of colonial violence, an Australian reviewer predicted that, despite 'scenes of throat-cutting torture, rape and exploding heads...The Proposition could be the most accurate look at our national history yet'. (Author's introduction, 207)
The Aboriginal Voice in Baz Luhrmann's Left-Leaning Australia (2008) Bruno Starrs , 2012 single work criticism
— Appears in: Continuum : Journal of Media & Cultural Studies , vol. 26 no. 4 2012; (p. 625-636)
'Arguing that Baz Luhrmann's Australia (2008) is a big-budget, non-independent film espousing a left-leaning political ideology in its non-racist representations of Aborigines on film, this paper suggests the addition of a 'fourth formation' to the 1984 Moore and Muecke model is warranted. According to their theorizing, racist 'first formation' films promote policies of assimilation whereas 'second formation' films avoid overt political statements in favour of more acceptable multicultural liberalism. Moore and Muecke's seemingly ultimate 'third formation films', however, blatantly foreground the director's leftist political dogma in a necessarily low budget, independent production. Australia, on the other hand, is an advance on the third formation because its left-leaning feminized Aboriginal voice is safely backed by a colossal production budget and indicates a transformation in public perceptions of Aboriginal issues. Furthermore, this paper argues that the use of low-cost post-production techniques such as voice-over narration by racially appropriate individuals and the use of diegetic song in Australia work to ensure the positive reception of the left-leaning message regarding the Stolen Generations. With these devices Luhrmann effectively counters the claims of right-wing denialists such as Andrew Bolt and Keith Windschuttle.' (Author's abstract, 625)

Awards

2002 winner Australian Film Institute Awards Best Original Screenplay
Last amended 14 Jul 2014 15:04:57
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